Coram Boy

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Overview

Set in the eighteenth century, Coram Boy is a tale of two cities and a tale of two boys: Toby, saved from an African slave ship, and Aaron, the illegitimate heir to a great estate. It’s also a tale of fathers and sons: slave-trader, Otis, and his son Meshak; and landowner Sir William Ashbrook and the son he disinherits.

In the mid-eighteenth century, an unsavory character and his simpleton son become involved in the lives of a wealthy English family when that ...

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Overview

Set in the eighteenth century, Coram Boy is a tale of two cities and a tale of two boys: Toby, saved from an African slave ship, and Aaron, the illegitimate heir to a great estate. It’s also a tale of fathers and sons: slave-trader, Otis, and his son Meshak; and landowner Sir William Ashbrook and the son he disinherits.

In the mid-eighteenth century, an unsavory character and his simpleton son become involved in the lives of a wealthy English family when that family's eldest son is disinherited because of his love of music.

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Editorial Reviews

Publishers Weekly
In our Best Books citation, PW wrote, "In the great tradition of Dickens, Gavin contrasts the desperate existence of city dwellers in the 18th century with the privileged life on country estates. The author never shows her hand as the disparate threads of her narrative join together into a seamless whole." Ages 12-up. (Apr.) Copyright 2005 Reed Business Information.
Publishers Weekly
In the great tradition of Dickens, British author Gavin mines English history, contrasting 18th-century city life with that of country estates, the wealthy classes with the poverty-stricken. Parallel plots develop as the author introduces charismatic Otis Gardiner, nicknamed the "Coram man" for his role in taking unwanted children off of the hands of rich and poor alike, and his simpleton son, 14-year-old Meshak. But Otis's nickname, taken from a nobler man than he (an actual historic figure, Captain Thomas Coram, who opened a hospital for abandoned children in 1741), is unearned; readers discover as the novel progresses just how he disposes of his charges. Meanwhile, another story emerges surrounding 13-year-old Alexander, on scholarship as a chorister at the Gloucester Cathedral, and heir to the Ashbrook estate. Making brilliant use of an omniscient narrator, the author moves easily in and out of various characters' points of view, most notably that of the emotionally unstable Meshak, whose moral compass points somewhere shy of North, but whose heart is in the right place. Alexander's and Meshak's romantic leanings toward the same young woman thicken the plot. Gavin paints low-life characters every bit as seductively as the high-society variety, and never shows her hand as the disparate threads of her narrative join together into a seamless whole. Ages 12-up. (Oct.) Copyright 2001 Cahners Business Information.
KLIATT
To quote the review of the hardcover in KLIATT, September 2001: This prize-winning British novel deals with a nasty and brutish facet of life in 18th-century England—infanticide and child slavery. It is based on fact: in 1741, a well-intentioned sea captain named Thomas Coram set up an institution for foundling children, and women of all classes, rich and poor, vied to have their unwanted children taken in there to be raised and trained for work. In this long but engrossing novel, an unsavory peddler takes advantage of such women, promising to take their babies to the Coram Hospital for a fee, but instead burying most of the little bodies by the roadside. His son Meshak, an awkward, simple boy, reluctantly assists him, but when Meshak falls in love with a pretty teenaged girl he spies on from afar, he leaves his father, rescues the girl's illegitimate son when he is born, and takes the infant off to be raised as a Coram boy. This boy, Aaron, is the son (unknown to him) of a young nobleman who has run away from his family to become a musician. Son and father are reunited when as an eight-year-old the boy's musical talent leads him to be apprenticed to the father, now a composer. Despite the evil machinations of the peddler, now a rich and influential man still in the business of buying children for nefarious purposes, the boy and his parents finally find each other and true love prevails. This complex plot with its dramatic twists and turns will draw in YA readers, for the horror of the events described (it begins with the infanticides), for the teenage romance of the would-be musician and the pretty girl and his rebellion against his family's demands, and for her terrible dilemmawhen she finds herself alone and pregnant. An interesting subplot deals with a young African boy, a friend of Aaron's. A rich Gothic tale for lovers of historical fiction. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2000, Farrar, Straus and Giroux, Sunburst, 327p., Ages 15 to adult.
—Paula Rohrlick
From The Critics
In the grand tradition of Charles Dickens (or even John Jakes), East Indian born author Jamila Gavin takes on the horrors of both class and poverty in this sweeping historic novel set in 1741 England. Otis Gardiner, nicknamed the "Coram Man," is a wicked, sadistic person dedicated to his own self-interests and the acquisition of wealth and evil powers. His business is the unapologetic disposal and trade of unwanted or abandoned children—a practice Gavin says was widespread in poverty-stricken eighteenth century England. Fourteen-year-old Meshak is his tender but dimwitted son, the "Coram Boy." As the chapters progress, we bare witness to the sheer cruelty of Gardiner's profession. Though he often promises to transport unwanted infants to the Coram Hospital, a home for foundlings, he is not a man of his word. More often, he sells "valuable" children into indentured service and buries infants alive when they offer no economic promise. We understand that this is a man and a time of little mercy. Meshak is trapped—opposed to his father's inhumanity, but dependent on his favor to survive. He seeks emotional sanctuary via gazing at the stained glass angels of the Gloucester Cathedral. Weaving in and out of diverse settings, Gardiner's occupation becomes a vehicle for complicated storylines and a wealth of robust characterizations. Pivotal to the plot is the plight of fifteen-year-old Alexander, heir to the Ashbrook estate. On scholarship at the Gloucester Cathedral as a chorister, Alexander's wealthy father does not approve of his musical ambition and insists he abandon it. The teen runs away from his studies and his father, with little thought for Melissa, his young lover heavy with his child.When Otis Gardener agrees to dispose of the unwanted newborn, Meshak can no longer watch without action. He has observed Melissa and Alexander, and has come to imagine the young woman as a real-life counterpart to the angels of Gloucester Cathedral. So he spirits baby Aaron away in secret and delivers him to a foundling home, where he grows to reveal musical talents of his own. As the novel closes, Gavin deftly knits the subplots together. As apt to please historical fiction fans of all ages, Gavin's fourteenth novel was named the Whitbread Children's Book of the Year for 2000 after its original British release. 2001, Farrar, Straus and Giroux, 336 pages,
— Kelly Milner Halls
Children's Literature
This lush, layered, textured historical novel is set in eighteenth century England. Otis Gardner is known as "the charity man" because along with his business of selling pots and pans, he also acquires and disposes of unwanted children. Rather than taking the orphans to the famed Coram Hospital in London, often Gardiner simply buries the babies, whether dead or alive. This is the only life his simpleminded, fourteen-year-old son, Meshak, has ever known. Another prong of the story introduces us to Alexander and Thomas, two aspiring musicians who come from different backgrounds. Alexander's passion for music—he studies with Handel—is not compatible with his role as heir to a large estate. Nor is his passion for Melissa suitable for the kind of wife his father has in mind for him. The story spans eight years, introduces numerous well-drawn characters, and details the seedy side of 1740s England with a deft touch. With humor, coincidence and plot twists reminiscent of Dickens, Jamila Gavin, in her first U.S. published novel, weaves a dark and captivating tale with a social message that follows in the best tradition of historical fiction. 2000, Farrar Straus and Giroux, $19.00. Ages 12 up. Reviewer: Christopher Moning
VOYA
I believe that this book accurately portrays the lifestyle orphans lived back in the mid-1700s, and it reminded me of the story in Oliver Twist with all the adventures and misadventures. I would recommend this book to those readers who like historical fiction and readers above the age of twelve. VOYA CODES:5Q 4P J S (Hard to imagine it being any better written;Broad general YA appeal;Junior High, defined as grades 7 to 9;Senior High, defined as grades 10 to 12). 2000, Farrar Straus Giroux, 336p, $19. Ages 12 to 18. Reviewer:Daniela Bill, Teen Reviewer—VOYA, December 2001 (Vol. 24, No. 5)
School Library Journal
Gr 7-9-Mystery, romance, horror, and adventure overlap in this story set in England in 1741. It begins with the brutal work of the "Coram man," a shady character who deals in unwanted children, whom he either abandons, buries, or sells into slavery. Accompanying this evil man is his son, Meshak, who appears to be slow-witted, but who has witnessed the horrifying nature of his father's work. One night, the boy rescues a baby born to Melissa, whom Meshak calls "his angel," and spirits the infant away to the Coram Hospital, a home for abandoned children. A separate story line involves teenaged Alexander, the baby's aristocratic father who is unaware of his son's existence, and his friend Thomas, raised in poverty. Alexander has pursued a career in music, which causes him to be disinherited from his family's fortune. Readers also follow the story of Melissa and Alexander's son, Aaron, who at age eight leaves the orphanage and is apprenticed to a musician, and his black friend, Toby, who is unknowingly apprenticed to the evil Coram man, now disguised as a wealthy pillar of society. Only when Aaron discovers his own musical abilities do the narratives begin to mesh. The author skillfully weaves the various threads together, and the characters are well drawn. While the obscure subject matter and the relatively slow beginning might deter some readers, those who stick with the compelling story will be rewarded with story lines that come together neatly and build suspense until the end.-Kristen Oravec, Cuyahoga County Public Library, Strongsville, OH Copyright 2001 Cahners Business Information.
Kirkus Reviews
This historical novel, winner of the 2000 Whitbread Award, deals with one of the more lurid and fascinating bits of English history. In 18th-century England, a man makes his living disposing of the unwanted children of both rich and poor women. Sometimes he sells them into slavery, sometimes he kills them, and sometimes he blackmails the mothers for years thereafter. He even abuses his own son Meshak, a simpleminded lad. Meshak, who is quite literally haunted by the babies he has helped to bury in ditches throughout the countryside, rescues one special abandoned child: the illegitimate newborn of a young woman whom he has worshipped from afar. He takes the baby to the Coram Hospital, where he is named Aaron, raised as an orphan, and exhibits a prodigious talent for music, encouraged by none other than George Frideric Handel. Years later, the paths of all the participants of the drama-Meshak, his villainous father, the illegitimate child, the child's parents-intersect with electrifying consequences. For when the participants in the original tragedy gather together, "there was not just one truth, because there was not one person there who knew the whole of it." This of course lends the plot structure considerable tension as the readers watch the characters try to unravel things. In her Preface, the author gives historical background regarding the infanticide and child slavery of the era, and the real historical character, Captain Thomas Coram, who devoted much of his life to establishing the Foundling Hospital where abandoned children would be sheltered. The historical setting is presented in enough detail to set the stage but not overwhelm readers with no previous background andknowledge. This is the stuff of high melodrama, and readers of the genre who will be swept along by the theatrics will not be disappointed. (Fiction. 11-16)
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Product Details

  • ISBN-13: 9781854598943
  • Publisher: Theatre Communications Group
  • Publication date: 4/1/2006
  • Series: Nick Hern Book Series
  • Pages: 96
  • Product dimensions: 5.10 (w) x 7.80 (h) x 0.30 (d)

Meet the Author

Jamila Gavin was born in India of an Indian father and English mother, but spent part of her childhood in Shepherd's Bush. She joined the BBC and started writing in 1979. Helen Edmundson's breakthrough came in 1992 with her award winning adaptation of "Anna Karenina" for Shared Experience, for whom she also adapted "The Mill on the Floss". Her adaptation of "War and Peace" was staged at the National Theatre in 1996.

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Read an Excerpt

CORAM BOY


By JAMILA GAVIN

Farrar, Straus and Giroux

Copyright © 2000 Jamila Gavin
All right reserved.

ISBN: 978-0-374-41374-3


Chapter One

The Coram man

'Oil Meshak! Wake up, you lazy dolt!' The sound of the rough voice set the dogs barking. 'Can't you see one of the panniers is slipping on that mule there! Not that one, you nincompoop,' as the boy leapt guiltily from the wagon and darted in an agitated way among the overloaded animals, 'that one - there - fifth one back! Yes. Fool of a boy. Why was I so cursed with a son like you? I don't have to have eyes in the back of my head to know that one of the mules had his load slipping. What goes on inside that addled brain of yours?'

A man and his boy were coming out of the forest with a wagon and a train of six mules. They were heading for the ferry at Framilodes Passage, which would take them across the River Severn and on to the city of Gloucester.

'Why I don't ditch you is more than I can say. Thank your lucky stars that blood is thicker than water. Tighten him up properly. Don't want no hold ups now. We can just catch the ferry before nightfall if we hurry!'

Otis Gardiner, pots man, Jack-of-all-trades and smooth-tongued entrepreneur, ranted non-stop. It was a side of Otis that not everyone saw; he could be so attractive, so charming, so sweetly spoken. A young man still, he hadwide, appealing, brown eyes and shoulder-length red-brown hair drawn back to show off his broad, handsome brow. He could barter the hind leg off a donkey - especially if the donkey was a lady. By flirting with the wives, bantering with the gentlemen, demonstrating magic tricks to little children, he could persuade a customer to part with twice as much money as they should, all the while making them think they had themselves a bargain.

Meshak tightened the straps round the mule's belly. He ignored the faint kitten-like wails which came from the sacks and tried not to look at the sneering face of the man he called his father. From his driving seat Otis peered round the covered wagon and flicked his whip at him. Jester, the brown scraggy lurcher, shadowed Meshak among the mules as the boy tried to compensate for his negligence by meticulously checking all the panniers. The other dogs, tied to the wagon by bits of string, barked their heads off and leapt and twisted in a frenzied bid to pull free. They didn't calm down till Meshak and Jester were back on the wagon.

Meshak was an awkward lad. At fourteen he was taller than his father and growing. But he looked as if he had been put together all wrong; his body was all over the place, his head too large, his ears too sticking out, his lips never quite closing. There seemed always to be a sleeve at his runny nose. His arms and legs dangled from his body, uncoordinated and clumsy; he dropped things, tripped over things, fumbled and stumbled. All this meant that people - especially his father - shouted at him, cuffed him, jeered and sneered at him, so his whole look was that of a cowering dog. If he had had a tail, it would have always been between his legs, as he slunk by waiting for the next kick. He had a vulnerable, infantile look, with his pale-freckled face beneath a stack of wild red hair, and his large, watery, blue eyes, which often stared round at the world with incomprehension. But no one ever saw him cry or laugh. People called him a simpleton - a loon - and wondered why his father hadn't abandoned him years ago. People assumed that he was nothing but an empty vessel, lacking in all substance, feeling or emotion; neither able to love nor in need of being loved.

How could Meshak speak of his terrors? There was no one to tell except Jester. He saw trolls and witches; evil creatures crouching in shadows, lingering round trees, hanging in the sky; demons with hairless heads and glinting teeth. He never knew when they would come to poke and prod him, to torment his sleep and rampage through his head. Even now, the darkness of the forest they had just left behind seemed to be creeping down the road after them, gobbling up their tracks, soon to consume them too.

His father was mean with the lamps and only kept one up in front for the road ahead, so Meshak hated being out on the highway at night. He was afraid of the dark. It was not just the spirit world which frightened him, but the real world of robbers and highwaymen, especially near the forest. And then there were the wild animals. He hated the green eyes which glimmered in the dense undergrowth, and the scufflings and gruntings of unseen creatures stalking among the trees.

Most of all he hated the pathetic squeals which came from the sacks bumping against the scraggy flanks of the mules, and the task Otis and he often performed at night in some bleak lonely place. He never told anyone of the frightful nightmares he had, and how he had learnt to smother his gasping whimpers lest he wake his father. He never told anyone of the faces and voices and clutching fingers of all those children, who drifted like lost spirits through his dreams.

He glimpsed the tall towers of Gloucester Cathedral in a distant smoky haze, and his heart leapt. He loved churches because there were angels there, sometimes within gleaming stained-glass windows or out in the graveyards; stone angels with gentle hands and loving faces. He would go to the cathedral as soon as he could and find his favourite angel. His father would usually abandon him in the city and go off for days on end, making his deals, meeting his contacts, disappearing into the pubs and taverns to indulge in gambling, dog-baiting, womanising and furthering his career. Meshak knew his ambition was boundless. He would not stay a pots man. Meshak, meanwhile, would live and sleep in the wagon. With the few pence he was given, he could fend for himself, especially as he always had Jester.

'Get on up front, boy!' A yell from his father indicated that he had spotted someone on the roadside. Otis liked to have his 'idiot' son up next to him during certain transactions. It gave him the air of being a devoted and caring father; a man you could trust and entrust with secrets. Meshak dutifully climbed up next to him.

With a shock of pleasure he saw the vast shining back of the river, so close now. The first tremulous lights of the fires and torches were being lit along the riverbank as dusk deepened into evening. Great hulks of ships brooded at anchor, and small craft scuttered like insects to and fro across the surface. Silhouetted tall and stiff as a scarecrow was the ferryman standing on his punt with pole in hand, about to embark with a full load of passengers, sheep and mules and baskets of goods. Corgis barked and scuttled in and out of the other animals' legs to keep them from bunching together.

Otis and Meshak were in a queue of at least three drovers' trains ahead of them, each with their thirty or so head of cattle, so they would be lucky to get across before nightfall.

'Pots, pots, pans and pots, griddles and ladles, kettles and skillets, mugs and jugs, knives, forks and spoons, farming tools, all Cornish tin and Newcastle iron,' Otis sang out in his trader's patter.

'The charity man's here!' A murmur went round. Word had gone on ahead that he was coming and some had waited for him.

In recent times, Meshak had got used to his father being called a 'charity man', though it had puzzled him. A wayfaring minister to whom they had once given a lift told him that in the Bible the word 'charity' meant 'love'. It was true that a lucrative part of his father's business as a travelling man was to collect abandoned, orphaned and unwanted children - many from local churches and poorhouses - and take them to the ever increasing number of mills that were springing up throughout the country. Otis always called the children 'brats' - as if like rats, they were really vermin - but he made money out of them. Older boys, he handed over to regiments and naval ships, which were always on the lookout for soldiers and sailors to fight whatever wars were going on with the Prussians or the French abroad or the Jacobites up in the north. Down at the docks of London, Liverpool, Bristol and Gloucester, he made deals with ships who took both girls and boys to North Africa, the Indies or the Americas, along with their cargoes of slaves, cloth, timber and metal.

That may have been considered by some to be an act of charity, but Meshak wasn't at all sure that it was love. He only had a vague idea about what love was. He thought he had been loved by his mother, though he could hardly remember her. She used to hug him and kiss him; she had played with him and told him stories. Then one day she had died and was gone for ever, and no one ever hugged or kissed him again, except for Jester - if you count face-licking, tail-wagging and jumping up a dog's way of hugging and kissing. Meshak knew he loved his dog and that Jester loved him, but he would never have called that charity.

The children whom his father picked up on the open road or in small villages, towns and cities, and took into his wagon as an act of charity, never looked happy or grateful. They were usually handed over roughly, received roughly, fed little, beaten often. All in all, Meshak couldn't say that either they, or indeed himself, were loved. If this was love, it was also business. Money changed hands, sometimes a lot of it.

But Meshak accepted that his father was a good and Christian man because everyone said he was. He was admired for this most Christian virtue, charity.

The sky was darkening not just with evening, but with a cloud bank of dark, purple rain expanding across the sky. A spiral of gulls circle-danced across the surface of the river; the evening light turned their white underbellies to silver. A few foresters and farming people converged eagerly on their wagon, bearing tools which needed sharpening, mending or exchanging.

Meshak knew what to do. He pulled back the flaps of the wagon and lifted out the pots and pans, knife-sharpeners, meat hooks, scissors, graters, mincers, goblets, griddles, knives and axes, as well as knick-knacks like combs and beads, bobbins and cottons, balls of string, trinkets and baubles. He spread out a large piece of sail cloth in a clearing by the side of the road and laid everything out so they could finger and question and calculate their terms for bargaining.

Meshak was up to dealing with simple transactions so, while he bartered, his father moved away in deep conversation with a well-dressed man, who led him into the cottage. He was not a wigged gentleman but a parish man with his hair drawn back under a broad brimmed hat and wearing brown wool breeches and leather boots.

The skies darkened further and the first plops of rain thudded to earth. The queue for the ferry had shortened to just one wagon in front now, and Meshak had already repacked the wagon by the time Otis reappeared.

'Get these brats in,' he muttered. He referred to five solemn, poorly clad children in tow: a girl and a boy as young as three and five, who clutched each other's hand tightly, and the rest - all boys - aged eight and nine years old. The children were silent, as though they had been born learning to stifle their fears. They allowed Meshak to herd them into the back of the wagon.

When the children were in place, tucked round the sides, still mute, still staring, Meshak and Otis began to separate the train of mules from the wagon. The ferryman was impatient now, looking anxiously at the stormy sky and the low sun, and urged them to hurry.

Otis tugged the reins down over the wagon mule's ears and roughly cajoled it on to the ferry. The nervous animal resisted, unwilling to step on to the rocking craft, until a sharp stroke of the whip made it leap aboard with a clatter of hooves. Otis pulled a sack over the animal's head to blinker it from the heaving water. He had just about cajoled a fourth mule on to the ferry when a woman's voice called out softly, 'Are you the Coram man?'

Meshak turned to see. He was surprised that his father reacted instinctively, as if that had always been his name. Meshak had never heard it before. Otis tossed Meshak the reins. 'The boy will see them on,' he yelled to the ferryman, and as Meshak took the reins and soothed the frightened mule, his father had already leapt ashore.

It was no housemaid or potato picker, like so many others who had hailed him, but a gentlewoman who, though trying to look modest and inconspicuous, was unmistakably a lady. Even had her refined voice not given her away, the cut and cloth of her cloak betrayed her. Her head was lowered into a basket, which she hugged tightly to herself, and she hung back in the shadows of the trees on the riverbank, trying not to be seen or identified.

The transaction was rapid. A heavy purse of money went into Otis's pouch and he took the basket with a great show of reverence and concern, as if he would protect it with his life. Meshak heard the lady give one short, pitiful shriek of grief, quickly stifled. Otis leapt back on to the wagon and thrust the bundle into Meshak's arms. 'Look caring,' he muttered, 'till we're on the other side.'

The ferry pulled away, but the woman continued to stand stiffly at the water's edge, watching them. Meshak felt her eyes fixed on them all the way across. She was still standing there when they disembarked.

Chapter Two

The Black Dog

The rain came down with a vengeance. The wind swished through the trees making them bend and sway. The road turned to mire, and they still had two or three miles before they reached Gloucester city centre. The mules bowed their heads into the driving rain. The squeaks and mewlings in the sacks ceased. The wooden wheels ground along the deep, water-logged ruts, heavy with wet, sticky, clinging mud which sent out a spray with every turn and coated the dogs outside. Their legs kept running incessantly, also sending out muddy sprays; running, running, because they had no choice but to keep their legs moving, tied as they were to the axle. Jester was lucky; as Meshak's dog he was allowed in the wagon.

Meshak pulled the flaps tightly shut to keep out the damp cold. The brats all looked at him with long, doleful glances as he snuggled up to Jester for warmth. He shut his eyes so as not to witness their despair. He felt hungry. They felt hungry. They were starving, probably hadn't eaten since dawn. He didn't want to know. Didn't want to think about it. He had an apple in his pocket. He took it out with his eyes still closed and began to munch. He knew they were staring at him, their eyes huge with longing. He ate it as quickly as he could and fed the core to Jester. There was a shudder of repressed envy from the brats. They would have fallen eagerly on it and eaten every scrap if they could. Jester swallowed the core in a gulp.

It was dark now. The rain still beat down on the canvas covering and, for a while, they were mesmerised by the rhythmic swish and sway of the wagon and the hollow slurpy plod of the animals' hooves. There was a stir of surprise and a quiver of anxiety among the children when the creaking of the wheels stopped and they came to a halt. Apart from the sound of the rain and the snorting of mules, blowing away the rain from their nostrils, there was no other sound.

They were not yet within earshot of the city. Meshak sat up, his arms still clasped round Jester. The brats' eyes gleamed in the darkness. They seemed not to have moved a muscle since he had climbed inside to get out of the rain half an hour ago. He heard Otis jump down. The light of his lantern swung a yellow shaft across the canvas. Then the flap opened and his dark drenched face looked in. Rain was spangled through his thick, straggly hair, reflecting in the light like so many diamonds. He nodded curtly to Meshak. 'Get the spade. There's a good ditch just here. We'll dig them in,' he jerked his head in the direction of the panniers strapped to the train of mules. 'I don't want to take them into Gloucester.' Meshak jumped out and had to tie the flap to keep Jester in, so he then set up a continuous barking. Meshak knew from many, many times before that they couldn't have Jester digging anything up.

It was a hurried affair in all that wind and rain and darkness and the swinging light from the storm lantern, which Otis hung on a branch directly over the ditch. Otis plunged in his spade. Nothing too deep or careful. There was a lot of water. Just dig a hole deep enough to submerge the bundles. Foxes would do the rest. He wouldn't have bothered burying them had he not taken money for them and given undertakings. Otis dug and Meshak went from mule to mule, extricating one bundle after another from the panniers to hand to his father, who dropped them like seeds into the ditch. Meshak stared wonderingly as they sank into the mud and vanished even before his father had shovelled a few spadefuls of earth over them. What was it like to be dead? Meshak tried to imagine. What did they see under the mud? Would they find angels there; angels like the ones he saw in church windows?

(Continues...)



Excerpted from CORAM BOY by JAMILA GAVIN Copyright © 2000 by Jamila Gavin. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted January 1, 2005

    WOW!

    This is such an awesome read!!!! I love this book!!! I mean. .. it's like the whole package! This is sooo eighteenth century. Society was so important--getting in was like nearly impossible, but leaving it????!!! That was what Alexander did because his father (rich guy) didn't approve of music professions, but rather militaristic and upper societal ones. Oh , and there were other events tied to Alexander that weren't the greatest either. He caused them, but other than that, I thought the book was great.

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  • Anonymous

    Posted October 1, 2003

    I Love This Book!

    I love this book. I can identify with Alexander & Aaron because I wish I had majored in music myself instead of dull, uninteresting information technology. I especially like the chapters with Handel -- I just LOVE him, God bless him, if he were living I'd want to meet him & perform for him! I love books about music, especially set in ancient times.

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  • Anonymous

    Posted September 5, 2001

    Amazing, moving and simply brilliant

    This was Jamila Gavin's first book that i read and i think that it was absolutely fantastic, it is very sad and moving, but also in some place it can make you laugh i reccomend this book to absolutely everyone!

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